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One thread per person please. Feel free to share with us your photos and video clips from your gigs, jams, rumbas, etc etc. No random clips or images, this is a section for our members to post up and promote their own projects and adventures.

Forum rules
One thread per person please. Feel free to share with us your photos and video clips from your gigs, jams, rumbas, etc etc. No random clips or images, this is a section for our members to post up and promote their own projects and adventures. Lets keep it positive.

According to Dave, my teacher and cofounder of Bamboche, the word Bamboche means to party.I think that probably accurately describes the group. I've been playing and learning with these guys for about a decade now, and began as an interested bystander, who now finds himself at the lead coordinator position. The band has been in existence for a quarter century and have alumni like Michael Travis of "String Cheese Incident", Jans Ingbar and Scott Mezerschmitt of "The Motet", Dusty Greer of Ashville, and Eric Todd who travels the globe as a baterelo.I remember hearing them soon after I came to Colorado in 1977. I thought they had some amazing drummers, but didn't really appreciate the lose structure of the singers and the loud noisy sound of the whole band. I heard them a few times where they played at parties or dances. The room would be small, yet they would mic the singers, and sounded horrible.I started to learn to play the didjeridu around 1990 or 91, so didn't fit into their accompaniment, but after another 10 years went by, and learning to play the instrument rhythmically with my body, my friend Eric started sharing some rudimentary drumming technique and rhythm. My true calling became apparent as I stayed with it and expanded the knowledge base through his teacher, then to the annual Humboldt Afro-Cuban dance, drum, and song camp.When I was just learning to play the drum at the beginning, I thought "I will never sing that junk,, I don't really like it, so I'll just focus on the drums which pulse deep into my heart."Then, slowly and surely, the song began to speak deep into my soul, and now I love to sing the ancient music of the Orishas, and the Cuban Spanish of the Rumba.We're now focused on a gig at the Laughing Goat http://www.thelaughinggoat.com on either Saturday Jan. 24th or the 31st. Eric and I will be making song sheets for everyone that will include all of the songs we will sing that night inserted into a grid of clave or bell. This way everyone who comes can study up on where everything fits into the beat and exactly where every syllable overlaps. Rapa will be here from GA to thrill us on quinto, Dan will be gone to Hawaii and will be sorely missed. We're collecting Willow - lead singer from the old Caberet Diosa, Ritz who's back from New York loving his long forgotten roots with our group. We're contacting everyone who's played with us, so it should be a good show!I'll post some pics and stuff as the time draws near.. The energy is building!Dave

I just played a song with a choir last night at a local high school! That marks my first one with a choir! Crazy! Never thought that would happen,, but it went off really well.. I had to wait backstage through most of the concert and got to hear more of our choir than ever before.. I've got to say that our choir director is forever in my all-time favorites, and can never do any wrong in my eyes. The music that those kids sang was AMAZING!!! Absolutely unbelievably beautiful.. It's the stuff that makes tears come to your eyes, your face blushes, and you faint. In fact one of the kids did faint, and fell forward on the risers. It was in the song I played on. We stopped, several people checked her out, then we stood her back up and started over..Two Mondays ago I went in Emily's practice room and practiced with the kids on the song "There's a Home in the Rock", an old gospel song, and discovered the trick to playing with swung stuff like Jazz & rhythm and blues, which Dusty had mentioned a year ago. You play the Tumbao, but swing it really slow and dirty.. It works great!I threw in some interesting placements where I would make the slap really sharp and crack, and then really soft on the rest until the second note of the double tone,, right before the downbeat, then play it really thick. The pianist and I seemed to have nice dialogue. The guy was completely a professional.. Really good.. For practice, I had two Mondays with the kids, ran through the song twice each time with recorded canned piano, and never with the real accompanist, Dan. But, last night he and I didn't get a chance to practice the song before the concert began as she had mentioned, so I walked up to him and discussed it for minute while she was coordinating the kids. I said that I would end up on a roll, and would point to him when I had finished my solo and he would play the last note.And that's what we did. I think we pulled it off really nicely!Sorry, no pics!! I gave my camera to my friend/teacher who I talked with at the beginning, but she had to leave earlier than my song, so she handed it off to another without showing her how to use it, so nothing was saved on the camera!Murphy's Recording Law strikes again!

As it turns one of the teachers took a shot while I was tuning before the performance, so at least that's something.. Dave

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Last edited by windhorse on Thu Dec 11, 2008 11:35 pm, edited 2 times in total.

IMO, there's definitely room for congas and other Afro-Latin percussion instruments in church music, especially when they're very tastefully played and doesn't detract from the sacredness of the music and the reverence and worship due to the Creator.

I'm delighted to know that you experienced the same joy that I've been experiencing doing the same for my Sunday choir and my church.

What's also very gratifying is knowing that you've helped provide joy to some members of the congregation through their experience of hearing Afro-Latin sound injected in liturgical music. For some of them, it may even be a novel experience. You are made aware of this when some of them approach you after the service and directly express their gratitude and appreciation to you.

umannyt wrote: I couldn't help but notice those outward-facing tuning rods.

Oh no!!! someone noticed!! Yep, that was one of the first things my buddies noticed when I pulled them out of the boxes a few years ago.Someone screwed up, and they must of already mounted a few of the heads, so went with it and made them all face outwards. I'll turn them around when I re-mount them in --- let's see maybe another 15 years.. If I live that long.

windhorse wrote:I'll turn them around when I re-mount them in --- let's see maybe another 15 years.. If I live that long.

Seriously, I can't see why you can't do it now. You can loosen the hooks--this time completely, such as when you want to detune completely and even turn the heads some. But this time, just unhook the rods and turn them 180 degrees, re-hook them and re-tune.

I'm not sure if there's something that I'm ignorant about that gives me the impression that you seem to think that you can only turn the hooks around when you re-mount the skins. But, I've turned the heads of my 1-1/2-year-old Islas around a few times already without any problems. This process was recommended by Isla owner and maker, Mario Punchard, himself in order to correct or minimize the slight bending that happens with the old (narrower) rims when the tumbadoras are tuned; that is, by putting the valleys of the rims directly on top of the crests of the tucked hoops and, then, re-tuning.

Thanks, I've been told that before, but I'm lazy,, and for some reason keep forgetting that I don't have to remove the head to remove the lugs... These kind of reminders do help!I just might do it though in the next few days if I get a few moments...

At yesterday's rehearsal, we figured out the set list. We may add two things.. An Agbe with songs to Oya, and a bata rumba with songs to Obatala.We're really coming together and sounding good! I wish we had recorded the last rehearsal, but no problem, we got really focused..